Notes on Eternity
Note: The People We Stop Chasing — The quiet freedom of no longer convincing anyone
At some point, you get tired of convincing people. It doesn't happen in one dramatic conversation. One day you simply notice that you no longer have the energy to explain why someone should make an effort, and that the attention you've been giving them could live somewhere better.
Video work seen at Zachęta – National Gallery of Art, Warsaw, July 2021. Photo by Laura Achrem.
Note: The Human Who Stays — On AI, IKEA, and the future of the sales floor
When an AI assistant took over almost half of IKEA's customer questions, the company didn't reach for layoffs. It trained 8,500 of those people to design rooms instead. I keep thinking about that choice, about the silk weavers of Lyon who burned the first programmed looms, and about the sales floor in luxury, where the one thing a machine can't do may soon be the only thing worth paying for.
October 2026. A single silk thread before the punched cards of a Jacquard loom. AI-generated image, art direction and edit by Laura Achrem.
Note: The Flowers I Never Waited For — What buying flowers for myself taught me about love
Is it sad to be the person who has bought you the most flowers? From peonies and ranunculus on an ordinary Tuesday to Mrs. Dalloway and The Hours, this Note follows a small ritual that quietly became a standard for life. A note on love, attention, and independence, because feeling loved often begins with feeling seen.
October 2026. Fall on the sideboard. Photo by Laura Achrem.
Journal
The Journal — A place for what I make, what I see, and what I keep
Notes on Eternity is where I think. The Journal is where I live, make and look: a closer, less finished place for the work, the process, the style, the places and the small moments behind the ideas. If the Notes are the thoughts, the Journal is the life they come from.
Illustration made for the Journal, October 2026. Art direction by Laura Achrem.
Marina Piccola, Capri — Summer on 35mm
A summer day at Marina Piccola, seen through 35mm film. Striped umbrellas, turquoise water, the red walls of Bagni da Maria and the Faraglioni on the horizon. No story beyond the image: only light, color and the slow rhythm of the sea.
Capri, July 2025. Shot on 35mm film, by Laura Achrem.
Via Mulo, Capri — The Way Down on 35mm
The path from Capri town down to Marina Piccola, seen through 35mm film. Narrow white walls, a tiled map of the island, bougainvillea and umbrella pines, and the sea appearing a little closer with every turn.
Capri, July 2025. Shot on 35mm film, by Laura Achrem.
